Camera Workshop

Amores Perros

Alejandro Gonzalez Inarritu’s 2000 anthology film, Amores Perros, is a tragic movie that centers around three different storylines and groups of characters but connects them al with a car accident scene. The movie begins with this scene but then goes through patterns of backwards and forward in time to adjust the chronological order to develop each story. The fist story that is mainly focused on is “Octavio y(and) Susana,” which is about a young man,Octavio, who is in love with his older brother’s wife, Susana. In an attempt to earn enough money to run away with her, Octavio begins fighting his dog. However, Susana betrays him, and in his anger he stabs another dogfighter and as he flees he commits the car accident. From there we are introduced to the next tragic story in which between Daniel and Valeria. Valeria, a supermodel, is in the car that Octavia crashes into as she flees and as a result she loses one of her legs. The tragedy is that Daniel had just left his wife and daughters for Valeria who has a major personality change after the accident. The third storyline is of El Chivo who is and old man who lives in poverty and mourns the fact that he cannot see his daughter. El Chivo is then hired by a man to kill the man’s half-brother and partner. However instead of killing him, he kidnaps him explaining the situation and then forces the two brothers to confront each other.
The way in which Gonzalez Inarritu uses a strayed chronological order is very effective because it creates a different order of plots as well as multiple climaxes and resolutions. The film purpose is to display how brutal people can be towards each other as well as animals. With the numerous different horrible acts displayed in the film, such as dog fighting, murder, betrayal, adultery, and theft, the viewer is given the sense of humans a dark race. Also the film displays that such acts are not restricted to particular social classes and that treachery and villainy has no relation towards financial or social status.

1102 essay 2

Zach Rounsaville

March 12, 2009

English 1102 D2

Dr. Perez Tejada

Vignettes: a Comparison of Films

The films Amores Perros and Pulp Fiction have been compared several times, and rightly so they are similar in several ways. Both films are a series of vignettes of different characters’ lives that are intermingled throughout the films; this style has become the trademark of American director Quintin Tarrintino. The films also have similar themes such as forbidden love, and the common link of all human lives. The films represent how globalization of media has allowed American cinema to influence the directors of different countries, and how individual directors take these influences and add their own touch to make a global film that is representative of their country and style.

The narrative style of both films shows a clear influence of American Cinema; the separate vignettes taking place at the same time has become a style associated with all of Tarrintino’s films. This narrative frame work is the reason why Amores Perros has sometimes been called the, “Mexican Pulp Fiction,” (Brown). All of the events in the films seem insignificant, but as the individual stories fold in upon themselves we see that even the most minuscule action can have dramatic effects on the lives of others. The flow of both films also shows an influence upon the Mexican film; both films counter slower paced action sequences alongside very quick action sequences. The effect of the pacing of these films keeps viewers engrossed in the films while allowing for the development of characters and storyline. A benefit to the viewer of this style of narrative is that it allows the films to cover, “Genre ranges from crime to comedy, humor, and drama,” (Court C). The intermingling of lives and the effects the characters have on each other’s lives develops, “the feeling of the world being small,” (Court C).

The themes of both films also show how similar they are. Both films deal with an overarching theme of the characters searching for something to make their life meaningful. Many of the vignettes hold similar themes as well; for instance the first story in Amores Perros deals with the forbidden love that Octavio feels for his brother’s wife Susana. The series of interactions between John Travolta character with his boss’ wife, while not identical, deals with forbidden love, or in this case lust. The idea of the effects of our choices is also shown in both films; however the films differ in the representation of this ideal. Amores Perros focuses mainly on how the characters lives cannot be improved because of the choices they have made. In Pulp Fiction on the other hand, “Every character gets a chance of redemption in the film,” (Court C.), and it is the choices they make once given the chance at redemption that effects the outcome of their lives.

The character development in these films also makes the viewer, “love the characters and rout for them, even if they are seedy people,” (Court C). The films get viewers to empathize with the characters, and make them think on what choices they would make given the same circumstances. The directors of these films effectively submerge the audience in the more sinister side of the world by developing the characters, “learning about their pasts, feelings and senses of humor,” (Court C), which makes the audience feel like a part of the characters’ lives. Tarintino’s characters, in particular, are so relatable because they use, “transient, pop-cultural symbols and icons are the way these characters make sense of their lives,” (Mark T. Conrad).

Each film also sets its self apart in an artistic sense, allowing each to become very noteworthy piece of art. The most obvious effect in Amores Perros is the coloring; all of the colors in this film are washed out and desaturated which gives the effect of viewing the film, “with a jaundiced eye,”(O’Brien). This coloring of the film allows the viewer to see the poverty, and emphasizes the struggles of the characters. This is compounded by the shooting style of the film, “its edgy and fluid hand-held camera work,”(Brown), adds an almost documentary style to the film; making the audience feel that they could see many of the sequences in the film on a street in Mexico. On the other hand, the colors of Pulp Fiction are very vibrant and accentuated by high key lighting in most of the scenes; this effectively draws the viewer in. The vibrant colors also make the scenes of violence seem more acceptable and play down the nefarious actions that occur within the film. Even though this film has merit, it often goes unnoticed; because much of the film is watered down with, “seemingly endless references to pop culture,” (Conrad).

The ways in which the nefarious deeds of the characters are portrayed are very different in both films. Amores Perros treats the actions of the characters very seriously, and shows very clearly that the actions that the characters are taking are leading to their down fall. Oppositely, the seedy deeds of the characters in Pulp Fiction are depicted as rather glamorous; that is until their actions lead to an incident that serves as a reality check. The deeds in question are also quite different; representative of the common issues of the countries. The first story in Amores Perros deals with dog fighting which, “is always likely to have a bad time in our ‘nation of animal lovers”,(Brown); however, dog fighting is a more common occurrence in Mexico, and is not nearly as frowned upon. The issues found in Pulp Fiction, drugs and organized crime, are common issues in American and are therefore a more acceptable theme.

The effect of globalization, while seen in Amores Perros through the influence of American cinema, is an object of humor in Pulp Fiction. Pulp Fiction discusses globalization with a conversation between John Travolta and Samuel L. Jackson on the spread of McDonalds to France. The humorous view of globalization as America’s influence on others is congruent with the general American imperialistic view of themselves.

While some feel that comparing these two films, “would do a disservice to Amores Perros,” (Brown); a comparison shows the ability for these films to both be global films. The similarities make it so the films are of a familiar style to viewers of other countries, and therefore do not isolate groups from being able to enjoy the films. The influence of American cinema on the cinema of other countries shown through a comparison is integral in showing that we are becoming a more global and mixed society. The globalization represented here is also the first steps in breaking down the prejudices of many Americans towards foreign films; in that they can relate to the format of the films better making them more likely to view them. This serves to increase rather than detract from the merit of the films; because the influences are what make Amores Perros accessible to a greater demographic earning it more acclaim. This is a single example that helps to explain the success of many foreign films in America; and represents the cause for the more recent increases in foreign film production, and the influx of foreign films to America. It is films like Amores Perros that take the basic framework of familiar American films and remix them into a film representative of their own cinema that bridges the gap between American audiences and foreign films.

Bibliography

Court C., Movie Analysis: Pulp Fiction, Helium

Harvey O'Brien PhD., Amores Perros, Harvey's Movie Reviews, 2001

Keith Hennessey Brown, Amores Perros, Eye For Film

Mark T. Conrad, Pulp Fiction The Sign of the Empty Symbol, Metaphilm, August 29, 2003

Fate de Femme

            One of the more interesting aspects of international film is the presentation of common ideas that are shared by different cultures.  One such interesting pair is the Latin American film Nine Queens by Fabián Bielinsky and the American film Ocean’s 13 by Steven Soderbergh.  The smooth criminal characters and similar plot lines are pretty apparent.  However, a more profound comparison can be found when one analyzes the feminine aspects of each film.  Although both casts are male dominated, the female character’s role in each film is important. Here the audience finds the similar cultural themes and the different aspects of each country’s view of women.

            Female characters in Ocean’s 13 are few and far between (ignoring the extras who frequent the casinos).  In fact, Todd McCarthy of Variety magazine only mentions a female cast member once in his entire review of the film.  While this gender void is disrespectful and demeaning in itself, it does make an effective analysis easier.  The fact that only one woman was cast in a mildly important role supports the old American belief that women “should be seen but not heard.”  Some may argue that this statement only applies to this particular movie, and that women do have a big role in American film.  However, it seems that Hollywood is only trying to please some of the more radical feminists by giving them middle tier roles and a few lines to say.  The only female role mentionable in Oceans’s 13 is that of Abigail Sponder (Ellen Barkin), Bank’s number two in the casino.  At first, Soderbergh pays tribute to the beauty of women by centering the camera on Sponder with a low angle shot to show that she is in control.  She keeps a tight leash around Bank’s casinos through discipline and punishment.  Although she is presented as a tough obstacle because she is so mentally strong, the boys know she has one weakness: sex.  Soderbergh shows the viewer a theme unique to American film.  This mentally powerful but morally weak woman stems from the American male’s desire to be in control and fits the classic patriarchal society.   Once Sponder finds that she has been duped, she loses her composure and cannot understand how it happened.  She seems overwhelmed and can’t recover due to the fact that everyone in the room – each of them male – knows that she succumbed to the temptation of sex.  Not a minute later, Sponder is rushed off screen and we only see her one more time when Ocean is flying away with the diamonds.  I think the underlying theme here is that women are tools for men to use and then throw away when they are done with them.  This is another prime example of women’s weakness which strengthens the American man’s faith in his patriarchal society.  One day women may have the majority of important roles in film.  However, until that day comes, women must submit to the will of the stereotypical American male.

                                                       

            Nine Queens is like a breath of fresh air compared to Ocean’s.  Although neither of the girls have primary roles, they are both powerful and in control of their lives.  There is a grey area though: in the scene where Marcos gets his sister to “sleep” with the man he is making a deal with (Vidal Gandolfo).  However, the viewer must realize that Valeria made this decision in order to fix a money problem within their family.  She could have just as easily walked away from the sticky situation.  The fact that Valeria has a choice in her decision presents a character that is foreign to the average American moviegoer: the mentally and morally powerful woman.  Further supporting this point is the fact that each woman that Juan and Marcos meet are involved in Juan’s elaborate scheme to cheat Marcos out of his money.  Marcos appears to be in power for the entire movie, but at the end he has the rug pulled out from under him by his own sister; the viewer cannot help gaining respect towards women.  However, there is a dark side to Bielinsky’s portrayal of women.  The two women involved in the plot, Marcos’ sister and “the avaricious widow who owns the ‘nine queens’ and her much younger bleached-blond boyfriend”, are somehow connected with sex in a negative fashion (Ebert 4).  Valeria is asked to have sex with a total stranger and agrees to do it “…if she can share in the spoils”, though the viewer later learns that she didn’t go through with it. The old woman has a huge hoard of money and uses it to buy a young man who follows her every wish; a thing that American’s rarely see in Hollywood films.  By showing presenting these ideas to the viewer, Bielinsky shows that Latin American women do not have enough self-respect.  It is impossible for one to know if these themes are common in Latin American films if this is the only one that he or she has watched.  However, another famous Latin American director, Marta Rodríguez, has produced many films in which women are the primary role and are looking to increase their place in society (Dennis et al 4).  Thus, the role of women in Latin American films is more important and familiar to people in countries like Argentina, Columbia, etc.  If Hollywood and the rest of America wish to make any progress in elevating the status of women in society, this would be a perfect template to use.

            As we have seen, both movies send mixed messages about women and their role in American and Latin American society.  Although Bielinsky’s Nine Queens is nicer to women than Soderbergh’s Ocean’s 13, they both connect women to sex.  One of the more interesting aspects of both films was the fact that, when introduced, the female character was shown in the middle of the frame, with the focus on her, and was shot at a low angle.  This leads the viewer to believe that both directors were trying to focus on the female characters’ beauty instead of the part that they were playing.  Although this is not necessarily a negative thing, it is interesting that both films, and therefore both cultures, admire feminine beauty.  Women have always struggled to gain power in society.  In some cases, they have been more successful, as in Latin America, while in others, they still have a long way to go.  These small differences in the portrayal of women emphasize the difference between American society and others.  Moviegoers can learn from them and change America’s view on ways to get more out of life and film in general.  The role of women in filmmaking is changing; it should be interesting to see how far their role will go in the coming decade. 

Once Were Warriors

The film Once Were Warriors follows a Maori family as they try to thrive in the slums. As the film progresses various struggles put a strain on relationships within the family; which are compounded by the loss of identity of the Maori people represented by this family.

The Maori people depicted in this film are struggling with many issues analogous to those of many of the minority groups of the United States. The struggles of the Maori people in this film are compounded by the loss of their cultural identity. The low key lighting throughout the film helps to emphasize the effects of the schism in each person's identity in the film; the lighting shows that even in times of joviality there is still darkness upon each person. The actions of the main character, Jake, demonstrate the effects of trying to get rid of your past identity; he is perpetually unhappy, and tries to escape his dislike of himself with fighting and alcohol. The one person who is actually able to become happy and improve their status is the son in social custody; He is taught about his cultural identity and brings this identity into his core and makes it a part of him, which allows him to become whole and enjoy life. This film shows the problems of a whole demographic of New Zealand; the Maori are having to forge a new identity while maintaining their cultural identity, and until these people are able to come to terms with the new way of the culture they will stay downtrodden.

The Remade

The Remade
Samantha Thomson

Remakes are not an unusual concept in film: people see remakes of movies in Hollywood all the time. For example, movie theater audiences frequently see advertisements for movies made from their favorite books (such as the Harry Potter series), movies made from Hollywood films that they’ve seen before (such as the current Friday the 13th), and even movies inspired by old TV shows (such as Bewitched and The Dukes of Hazzard). However, many moviegoers do not realize that some of the films they’re viewing are in fact remakes of films that were popular and successful in other countries. One such American film is Martin Scorsese’s 2006 flick The Departed, which was adapted from the 2002 Chinese film Mou gaan dou (known to English speakers as Infernal Affairs), directed by Wai-keung Lau and Siu Fai Mak.
Remakes explore the same themes and follow the same storyline as the original (though the extent to which the original story is followed varies). However, in the case of movies that are remakes of prior films, the new filmmakers may use a different style to enhance the movie. This can be seen in the case of Infernal Affairs and The Departed, which share very similar screenplays and dialogue. As well as a shared plot, both films also share similar styles and techniques, with some marked differences caused by the filmmakers’ uses of various tools and skills. Cinematography is an extremely important element of the two films; however, Infernal Affairs uses more editing to emphasize the storyline, while The Departed focuses more on using more subtle shots and music to do the same.
Both of these movies are crime/drama/thriller films with a complicated storyline: a police officer (Yan in Infernal Affairs and Billy in The Departed) is sent undercover as a mole in the local mafia, while the mafia (the Triad in Infernal Affairs and the Irish mob in The Departed) sends their own mole (Ming in Internal Affairs and Colin in The Departed) to infiltrate the police force. Each mole finds himself in a desperate race to expose and destroy the other before being found out and punished. In the Chicago Sun Times review of Internal Affairs, Ebert notes that these films are not the average thriller, but also posses “a kind of emotional complexity rarely seen in crime movies.” The Departed follows the story of Infernal Affairs very closely, with the largest difference perhaps being the more ‘complete’ conclusion seen in The Departed as well as the fact that, prior to the closing scenes, there is some interaction between Ming and Yan in Infernal Affairs, but no interaction between Colin and Billy in The Departed.
It is interesting that one concept for a film can work when made for two very different cultures; the plot of these two movies transcends ethnic and national boundaries, appealing to audiences around the world. The themes in both Infernal Affairs and The Departed are also universal, which may explain the two films’ successes in different parts of the world. Both films explore issues of identity, internal conflict, loyalty, and betrayal. The films also delve into class separations and role models: Colin and Ming both continually yearn for a better status in life and it is not difficult to spot Frank Costello, The Departed’s nefarious mob boss, as the father figure to both Colin and, strangely enough, Billy. And finally, both movies take a turn toward the philosophical when examining religious feelings: in Infernal Affairs, viewers are given several Buddhist references, and in The Departed, characters appear to posses a burden brought on by old-fashioned Irish-Catholic guilt.
Arguably the most central theme in the two films is the internal conflict of the two moles over their own identities. As Roger Ebert notes in his review, “The Departed is about two men trying to live public lives that are the radical opposites of their inner realities...the telling of their stories involves a moral labyrinth, in which good and evil wear each other's masks.” (3) Yan and Billy are the good guys that wonder just how good they can be after all of their time spent surrounded by crime and who miss contact outside of their shadowy covers. Ming and Colin are the bad guys that desire to eventually be respectable and to move up in the world. Both moles in each film are traitors to their conscience in one way or another, and struggle with the stress and pressure that comes with that. Both directors used key scenes, camera angles, and careful editing to imply this internal conflict. For example, in Infernal Affairs, after the death of his commanding officer (Shing), Yan has black-and-white flashbacks of his memories of Shing. These somber flashbacks, as well as the sad music playing in the background, add a sense of gravity to the scene: we realize that Yan has just lost someone important to him, one of the two men that knew Yan was no criminal, but an honorable man that sacrificed everything.



There are other key stylistic elements to the two films. Viewers will notice more long and medium shots in both films than any other type of shot. Both films make excellent use of moving shots, which add nicely to the action scenes: The Departed’s shots tend to be more subtle, likely depending mostly on tracking and crane shots, while Infernal Affairs’s shots seem to have frequently been done using a steadicam. These two approaches give the films slightly different looks, as the steadicam allowed for more flexibility during shooting. There are virtually no special effects to be seen in The Departed, which instead depends heavily on editing alone to cut scenes. However, Infernal Affairs uses faster editing and some minor special effects for the transitions as well as for the introduction of key characters; freeze frames and, as mentioned previously, slow motion are seen a few times throughout the film. Thankfully, due to Hong Kong cinema’s lack of big budgets, special effects were not overused. The quick cuts in Internal Affairs often combine several different camera angles, creating fast-paced, intense scenes. A final difference between the stylistic aspects of the two movies was the use of music and sound: while Infernal Affairs did not overly depend upon music, The Departed would certainly not be the same without its carefully chosen and edited soundtrack, which “combines rock 'n' roll and opera.” (4) It is surprising that there are not more differences, considering The Departed’s screenwriter stated that he made a point of not watching the original film and worked only from a translation of the Chinese script (4).
It seems that sometimes one of the two films does a better job of using technical skills and effects to add depth to a scene. For example, in the opening scenes of The Departed, viewers witness Costello’s indoctrination of young neighborhood boys in a mechanic’s shop: in this scene, Costello is frequently nothing more substantial than a sinister silhouette, moving back and forth in front of the camera while young boys sit listening to him speak. The shadowing, the low camera angles, and the fact that Costello often moves between young Colin and the camera indicate his power and influence in the lives of these youth. Similarly, the opening scenes of Infernal Affairs show Hon Sam, the triad boss, lecturing a line of young men whom he indicates are his most recent recruits. In contrast with the opening scenes of The Departed, this scene is full of light and open air, and the cameras are at eye level. The only technical similarity is the fact that Sam is often interposed between the camera and the recruits. While the positioning and body language of the young men indicate that Sam is, without a doubt, a powerful man, this scene does not make him out to be nearly as sinister and ruthless as Costello appeared. Perhaps this is simply the genius of Martin Scorsese at work, or perhaps this is an advantage of being the remake: the movie that comes second can always attempt to improve upon the first.





The powerful dialogue and the use of proper angles, cuts, music, and other technical aspects really make each of these films; without the right pairing and execution, these films would not have been nearly as fluent, intense, entertaining, or thought-provoking. However, the films were both highly successful in their countries of origin, each winning several prestigious awards. In this case, the storyline allowed for a remake that could transcend national and cultural borders. The universal themes of identity, internal conflict, and loyalty in both films were interesting and entertaining to viewers the world over. Both The Departed and Infernal Affairs told the same story with only a few alterations, but the styles and techniques utilized by their directors were often somewhat different, allowing for two unique films.

Works Cited

1. Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition. New York: W. W. Norton, 2006.
2. Ebert, Roger. "Infernal Affairs." Chicago Sun Times 24 Dec. 2004. 1 Mar. 2009 .
3. Ebert, Roger. "The Departed." Chicago Sun Times 6 Jul. 2007. 1 Mar. 2009 .
4. McCarthy, Todd. “The Departed.” Variety 2 Oct. 2006. 2 Mar. 2009
5. Mou gaan dou. Dir. Wai-keung Lau and Siu Fai Mak. Perf. Andy Lau, Tony Leung Chiu Wai, Anthony Wong Chau-Sang. DVD. Miramax, 2002.
6. The Departed. Dir. Martin Scorsese. Perf. Leonardo DiCaprio, Matt Damon, Jack Nicholson. DVD. Warner Brothers, 2006.

No Man's Land

Danis Tanovic's 2001 hit, No Man's Land focuses on the struggle of the Bosnia-Herzegovinian conflict.  In the beginning, the viewer is presented with a perfectly executed ambush by the Bosnians.  This made me assume that the movie would follow the storyline of a classic war movie. Boy was I wrong. This story highlighted the pure hatred that each side had for each other and the lengths that each faction was willing to go to win the war. Tanovic accomplished this by putting one soldier from each side into the no man's land between the two fronts.

One of the biggest themes presented by Tanovic was the possession of power and where it comes from.  Chairman Mao of China once said: "Power flows from the barrel of a gun." This was true for Tanovic's film as well.  Throughout the movie we see that whoever has the most guns has the power.  The fact that the power changes hands from one side to the other shows that nobody really has the upper hand in this conflict.

Another thing that Tanovic highlighted was the UNPROFOR's unwillingness to do anything to help the conflict.  When the men in no man's land were first spotted, both sides alerted NATO of the situation in hopes that they could fix it.  An APC is immediately sent to the site but is soon called back by the NATO commander because he "doesn't have the authority."  This is also highlighted when Dubois decides that he can't help the man on the mine and pulls back all of his forces in order to hide the gruesome truth from the press.  Tanovic is showing the complete ineffectiveness of NATO to stop the conflict from happening.

No Man's Land is a great film that shows the grittiness of war and the comedy that can come with it. This wonderful film created by Danis Tanovic is a must-see and should not be chalked up as "one of those foreign films."